Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Turkey and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1976.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Manchester kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Scratch Acid to the techno kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Ossler. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Sällskapet,
The Monks,
Neil Young & Crazy Horse,
Stetsasonic,
Cybotron,
The Move,
Barry Ungar,
Gabor Szabo,
The Standells,
Matthew Halsall,
Rhythim Is Rhythim,
PIL,
Peter Gordon & Love of Life Orchestra,
Angels of Light & Akron/Family,
The Cowsills,
the Normal,
Scientists,
Nick Cave & The Bad Seeds,
Brass Construction,
Hot Snakes,
Marvin Gaye,
In Retrospect,
The Electric Prunes,
X-102,
Terrestrial Tones,
Todd Terry,
Strawberry Alarm Clock,
OOIOO,
Pussy Galore,
R.M.O.,
Suicide,
Kango’s Stein Massive,
Agent Orange,
Cluster,
China Crisis,
Jesper Dahlback,
Quando Quango,
Aswad,
Siouxsie and the Banshees,
Derrick Morgan,
Selector Dub Narcotic,
Oblivians,
T. Rex,
Nico,
Ice-T,
48th St. Collective,
David McCallum,
Grandmaster Flash and the Furious Five,
Half Japanese,
James Chance & The Contortions,
The Evens,
Ornette Coleman,
Frankie Knuckles,
The Alarm Clocks,
Shoche,
Glenn Branca,
New York Dolls,
Juan Atkins,
The Cramps,
The Golliwogs,
Bizarre Inc.,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.